The owner of a vintage clothing store must decide whether a new man's warmth and sense of humor are better than the calm security her fiance has to offer.
Marianne has always wanted to be a writer, so when her aunt Lillian asked if she’d help her boss, oil baron Ward, write his memoirs, she hurried to Texas. Apparently Ward is about to pass away, and Marianne wants to do her best to help him write his life’s story. But the Ward who ultimately appears before her is anything but ill—in fact, he looks to be a very healthy, not to mention handsome, man. It turns out it was all a ploy by her aunt to get the two of them together. Unfortunately, Marianne realizes it too late—she’s already caught in Ward’s dangerously seductive trap!
Cupid became a popular figure in the literary and visual culture of post-Reformation England. He served to articulate and debate the new Protestant theory of desire, inspiring a dark version of love tragedy in which Cupid kills. But he was also implicated in other controversies, as the object of idolatrous, Catholic worship and as an adversary to female rule: Elizabeth I's encounters with Cupid were a crucial feature of her image-construction and changed subtly throughout her reign. Covering a wide variety of material such as paintings, emblems and jewellery, but focusing mainly on poetry and drama, including works by Sidney, Shakespeare, Marlowe and Spenser, Kingsley-Smith illuminates the Protestant struggle to categorise and control desire and the ways in which Cupid disrupted this process. An original perspective on early modern desire, the book will appeal to anyone interested in the literature, drama, gender politics and art history of the English Renaissance.
English drama between the late fifteenth century and the late sixteenth centuries is as diverse as it is engaging; this anthology brings together eighteen of the most interesting and important dramatic works from the period. The plays have been chosen to give a broad view of the drama produced in Tudor England. They testify to the eclectic tastes of sixteenth-century audiences, ranging from morality plays (Mankind, Everyman), to comedies inspired by the Roman plays of Terence and Plautus (Ralph Roister Doister), to tragedies inspired by the plays of Seneca (Gorboduc, Cambises). In later plays, morality plots rub shoulders with slapstick comic business (The Longer Thou Livest The More Fool Thou Art, The Three Ladies of London), and classical gods intervene in the affairs of England’s regions (Gallathea). While some of the plays offer pure entertainment, others have a clear political agenda. King Johan is presented as a prototype for English resistance to Rome’s Catholicism; Gorboduc’s decision to abdicate and divide his kingdom highlights the vexed question of the English succession under a childless queen. Other plays comment more obliquely on contemporary events. Play of the Four Elements reflects on England’s nascent maritime expeditions to the New World, while The Three Ladies of London comments topically on immigrant overcrowding in England’s port towns, and the dangers of England’s trade in the Mediterranean. Some plays push the boundaries of what the theatre can do in staging violence (Cambises) and questioning gender roles (Gallathea). Designed for undergraduate use, the anthology includes extensive explanatory annotations and a substantial introduction to each play; spelling and punctuation have been partially modernized in the interests of making the texts more accessible to students. In all this, the anthology follows principles similar to those developed for Christina M. Fitzgerald’s and John T. Sebastian’s Broadview Anthology of Medieval Drama; several of the plays from that anthology are also included here, while the rest have been newly edited for this volume, under the supervision of General Editor Alan Stewart.
“If you want to be a better lover and have an amazing relationship (now or in the future), Cupid's Poisoned Arrow is a must-read.” —real reader review Eyes met, sparks flew—all fireworks and passion. In the beginning, it felt like magic…but somewhere along the way, the flame burnt out. That cute quirk you used to love doesn’t seem so cute anymore. The connection and fire that brought you together are lost—and you may feel hurt, unsure, or disconnected. You might be trying in vain to change your partner. You may even resign yourself to a passionless fate. Ancient sages recognized the lull in intimacy, passion, and connection that happens in even the most solid relationships—and hinted at the ways we can overcome it. With an entertaining blend of personal experiences, neuroscientific research, and amorous insights from around the world, Cupid’s Poisoned Arrow shows that we can use lovemaking to balance one another—and let harmony arise naturally. Here, you’ll discover the twenty-one Exchanges, a series of intimacy-building activities that can help you and your partner connect on a deeper level. These exchanges speak directly to the part of your brain that can fall in love—and stay in love—and are based on touch, eye contact, and attentiveness. By focusing on generous pampering rather than self-stimulation, you can create a nourishing cocoon of comfort and safety…and deepen your connection through bonding-based intimacy. Incorporating the principles of yin and yang, the Exchanges offer a balanced approach that emphasizes giving and receiving to spark a fulfilling sexual connection between you and your partner. Discover why real readers are saying “It works!” and “I wish I had read this book 10 years ago.” You’ll never look back.
Dealing with questions of the meaning of eroticism in Renaissance England and its separation from other affective relations, Queer Renaissance Historiography examines the distinctive arrangement of sexuality during this period, and the role that queer theory has played in our understanding of this arrangement. As such this book not only reflects on the practice of writing a queer history of Renaissance England, but also suggests new directions for this practice. Queer Renaissance Historiography collects original contributions from leading experts, participating in a range of critical conversations whilst prompting scholars and students alike to reconsider what we think we know about sex and sexuality in Renaissance England. Presenting ethical, political and critical analyses of Early Modern texts, this book sets the tone for future scholarship on Renaissance sexualities, making a timely intervention in theoretical and methodological debates.